By Felicity Collins
Australian Cinema After Mabo is the 1st accomplished examine of Australian nationwide cinema within the Nineties. utilizing the 1992 Mabo selection as a kick off point, it seems to be at how the Mabo determination, the place the founding doctrine of terra nullius was once overruled, has destabilised the best way Australians relate to the land. It asks how we predict approximately Australian cinema within the put up Mabo period, and what half it performs within the nationwide strategy of reviewing our colonial prior and the ways that settlers and indigenous cultures can co-exist. together with The Tracker, Kiss or Kill, The citadel, Love Serenade and Yolngu Boy between quite a few others, this e-book highlights turning issues within the shaping of the Australian cinema due to the fact that Mabo. it really is crucial interpreting for an individual learning Australian cinema and for these drawn to the ways that land politics has impacted upon the way in which we think ourselves via cinema.
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195. , p. 193. , p. 197. , pp. 200–1. , p. 204. 25 Encore, 19(8) 2001, p. 6. 26 Paul Sheehan, ‘Moulin Rouge is all it was hyped up to be – and more’, Sydney Morning Herald, General News Section, 6 June 2001, p. 26. 27 Stephanie Bunbury, ‘Luhrmann says his ﬁlm’s strictly Australian-made’, Age, General News Section, 11 May 2001, p. 3. 28 Adrian Martin, Review of Moulin Rouge in The Age, Today Section, 24 May 2001, p. 5. 29 Deirdre Macken, ‘So superlatively superﬁcial’, Australian Financial Review, General News Section, 26 May 2001, p.
35 Along with the discontented ﬂesh trying to break through the anaesthetisation of mid-life and its routines, Lantana makes visible the range of locales of middle-class life. These distinctive locales indicate the socioeconomic strata of middle-class experience, as characters begin to connect with each other, as strands of space within the ﬁlm begin to tangle like lantana, extending the thriller’s conventional ﬁeld of action into the multistrand narrative of the art cinema. These milieux are recognisable Sydney habitats, from the inner-city renovation, to the suburban double-brick or weatherboard bungalow, to the architect-designed bushland retreat.
40 Paul Keating, ‘The Redfern Park Speech’. , pp. 60–4. , p. 63. 40 3 Elites and Battlers in Australian Rules and Walking on Water Australian cinema, perceived as an international genre, brings to mind iconic landscapes, characters and stories which take hold in the memory as visual images. However, in Australian Rules (Paul Goldman, 2002) and Walking on Water (Tony Ayres, 2002), it is the voice and the breath that linger in the memory as aural images. In Australian Rules there is a transformation from a polyglot of vernaculars in the opening sound sequence to one clear voice-over at the end.